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Post by eatbigsea on Oct 18, 2018 22:57:28 GMT
I did enjoy Part 1 and it was very moving (and I remember the days they’re talking about). But I hope they include women in the sequel (apart from Vanessa Redgrave). A house like Walter’s wouldn’t have lasted long without women.
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Post by eatbigsea on Oct 16, 2018 22:22:24 GMT
Oh dear oh dear oh dear. I’m afraid it reminded me of Tarantino’s Pulp Fiction, but without any verve or energy. {Spoiler - click to view} I suspect the “Pygmy in a box” is the new “dead n-word storage.” It was controversial in 1994, and tying it superficially to the Belgian Congo in 2018 isn’t going to make it any more palatable. {Spoiler - click to view} Just because the woman in the box is clever (and might ultimately win, in some hypothetical scenario that doesn’t make any sense) really doesn’t make this acceptable. The scenes in London were marginally preferable, but only because {Spoiler - click to view} the thing in the cupboard was literally a skeleton and the characters’ interaction was more or less among equals. I see what he was trying to do, but it wasn’t sophisticated or (in my opinion) very intellectually interesting. I may be too North American to get this, but I can pretty much promise that it will never, ever transfer to New York in its current form.
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Post by eatbigsea on Oct 10, 2018 23:53:48 GMT
No one cares about Katya and Neil (you do you, kids). No one would care about Sean(n) and his ex if not for the fact that she put out a rather well written statement about how he had been calling her a psycho for accusing him of cheating. Which he had, in fact, been doing (snogging, anyway). So if she's telling the truth, then that's rather nasty emotional abuse.
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Post by eatbigsea on Oct 10, 2018 23:21:23 GMT
That was just beautiful. They pulled that together in a couple of days?!? It sounded fantastic. As a Newf, it is so weird to hear the accents veering a bit too much towards the Irish side of things than the North American side (we use the full f word in all its glory) but they nailed it better than any of the cast I have heard thus far (apart from Petrina Bromley, of course).
Rachel Tucker was amazing. To get the singing, Newfoundland vowels and then the Texas lack of consonants (wan(t)ed, depar(t)ing) so right, so early on, is phenomenal. shady23, I'll be moving with you into the theatre.
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Post by eatbigsea on Oct 9, 2018 14:50:18 GMT
^ The worrying thing is that juries in this country are frequently made up of people like some of our posters who believe anything they read on Twitter, without question, and without the need to examine any actual evidence... Testimony is evidence. Sometimes juries have to decide who they think is more credible. In this case, Rebecca Humphries' statement sounds perfectly credible to me. It wouldn't be enough to convict him of a crime on its own, of course, but witness and other statements are considered evidence in court all the time.
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Post by eatbigsea on Sept 27, 2018 1:07:54 GMT
I adored it from start to finish. It was extraordinarily polished for a first preview (rogue bench and drifting balloons notwithstanding) and I think it is going to be an enormous hit. I loved the gender-switching, and I have to think more about that. Patti was Patti (to the point of glaring at my area of the stalls because we dared to laugh at the pre-written jokes about Chicago (it's Chicago for god's sake, try not to let the meat jokes hit you on your way out) but she was very good for all that. As was Rosalie Craig. But the star of the show for me was Jonathan Bailey, whose big number was perfect and perfectly performed (especially for a first preview).
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Post by eatbigsea on Aug 31, 2018 19:26:34 GMT
Last night at Strictly Ballroom I had the classic man in front using his phone situation. Fortunately on the second time he opened it up (screen on full brightness of course) an usher ran down and told him to put it away. Hurrah for the usher!! The same thing happened at Exit the King last night. But the woman in question vociferously objected to being told to put her phone away, ran up the stairs after the usher to remonstrate with her, returned to her seat and continued to use her phone. A man across the aisle (who was in the raised section) kept craning his neck around, trying to get the usher to come back, but she clearly didn't want to deal with this lunatic and lurked at the top (I don't blame her, the usher was a small woman and the phone-user was tall, angry and somewhat terrifying). As we exited, she could be seen and heard yelling at the security staff that no one should have touched her (I have no idea if they did or not). I was on the other side of the stalls and wouldn't have paid much attention, but it was much more interesting than anything happening on the stage.
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Post by eatbigsea on Aug 3, 2018 7:31:41 GMT
A Little Priest - Sweeney Todd On the Street Where You Live - My Fair Lady Younger Than Springtime - South Pacific Sit Down You’re Rocking the Boat - Guys and Dolls Anthem - Chess
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Post by eatbigsea on Aug 2, 2018 20:58:45 GMT
Well acted, well directed. I just didn’t care if any of them lived or died.
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Post by eatbigsea on Jun 15, 2018 11:32:16 GMT
Any ideas when this goes on sale? I think I read that the official announcement of the show, with dates and on sale times, will be on Canada Day, which is Monday 2nd July. So excited for this! I do hope there are at least some Irish people in the cast, as they’ll have a much less difficult time with the accent than others. It would be great to have a name for the Jenn Colella role, especially a name who can do a Texas accent. Canada Day is 1 July - it’s not as much of a big deal in Newfoundland because that was Memorial Day when Newfoundland was a separate colony/independent (the Newfoundland Regiment was almost completely wiped out at the Battle of the Somme on 1 July 1916).
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Post by eatbigsea on Jun 13, 2018 22:50:49 GMT
I thought it was great fun, and much better than Mean Girls. I felt very old and North American as I was the only one laughing at a number of the jokes, which are highly specific to time and place. Carrie Hope Fletcher was fantastic from start to finish, great acting, singing, everything. Jamie Muscato was very good, but needs to work on the American accent a bit. I thought Jenny O'Leary was outstanding as Martha, and made the most of her big number.
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Post by eatbigsea on Mar 9, 2018 3:16:37 GMT
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Post by eatbigsea on Feb 24, 2018 22:31:57 GMT
I was also there last night, and generally agree with Dan. Let it go was amazing, although I suppose it could have been more visually spectacular. It’s certainly no flying carpet in Aladdin. But Caissie Levy sang and acted the hell out of it, the projections and curtains really did look great and the audience was not at all disappointed, roaring its approval.
Generally I enjoyed it, but it does what it says on the tin, it’s a slick Disney production. The acting saved it. Patti Murin as Anna is phenomenal, not the world’s strongest belt but she sells the role incredibly well. Caissie is stupendous, both singing and acting-wise, and she has two big numbers in Let it Go and Monster, but it’s Anna’s story, really. Story-wise, Hans’s motivation for acting as he did was really not explained, but you kind of have to run with it. Act 2 was ok, but the world-building in Act 1 was preferable for me.
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Post by eatbigsea on Feb 7, 2018 2:43:02 GMT
Not theatre exactly but I'd be interested in your opinions - I went to the rugby in Rome on Sunday and was standing up in my seat before the match began. (We were in the very middle of the row, there was not much legroom and I am a tall person, so I wanted to maximise the time before I had to contort myself into the seat for 40 minutes). A woman behind me tapped me on the back (well, the bottom) and said she couldn't see. (I sat down, grudgingly.) There were loads of blokes standing up elsewhere, but no one very near. (I am a woman). We all stood up about 5 minutes later for the national anthems and then everyone sat back down when the match began. Was I wrong to be annoyed? I feel that she wouldn't have asked a man to sit down.
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Post by eatbigsea on Dec 19, 2017 20:57:54 GMT
Come From Away***** ($300 ouch) This show set would make Chicago’s look state f the art glamorous, all what there is are fake trees either side of the stage, 3 neon signs a few tables and chairs, that houses 12 actors, every role is ensemble, no lead roles here and 8 musicians, it is that simple and a musical that has the audacity to tell a story about 9/11, nerves maybe still a bit raw, Well New York has kind of moved on, especially when a story is told beautifully about a small community in Nova Scotia and how their altruism makes a pleasant heart warming musical, not of people’s grieving but human love and endeavour and makes you feel good to be part of the human race. Love love love the 5 stars and so envious of all your experiences, but as a Newf I must point out that Come From Away is set in Newfoundland, not Nova Scotia. We get so little praise, let us have this one! (Nova Scotia helped out on 9/11 as well, but they didn't have the same town/arrival disparity that Gander did).
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Chess
Nov 2, 2017 11:27:05 GMT
via mobile
Post by eatbigsea on Nov 2, 2017 11:27:05 GMT
From what I can see, it's a bit cheaper in the week. @theatremonkey's quoted prices earlier in the thread appear to be for weekends. Ah, I see. I never go to the theatre at weekends so would never check then. Still ridiculous though!
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Chess
Nov 2, 2017 10:38:54 GMT
Post by eatbigsea on Nov 2, 2017 10:38:54 GMT
I’m a bit confused, as I booked stalls tickets for £75 each and most of them seem to be that way, with centre premium seats at £125. (Not that that’s cheap or anything.)
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Post by eatbigsea on Sept 7, 2017 18:20:36 GMT
Do the cast use their own accent for the characters? Also since it's transferring to the Pinter, what's the set like? I imagine they would have had to alter it from the NY productions which were done a thrust stage Toby Stephens and Lydia Leonard went for subtle Norwegian accents. I couldn't say how well they were done, but they sounded suitably Scandinavian to me. Similarly, the actors playing Israelis and Palestinians had accents which sounded pretty good to me, but again I'm no expert. (As a Canadian, I feel able to comment on US accents). As for the set, I agree with Mr Bunbury that it would be able to transfer to the Pinter without a problem. Nice projections, not overused.
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Post by eatbigsea on Sept 7, 2017 16:37:16 GMT
Just out of the matinee. I really enjoyed it, and agree that the time flew by. The cast was excellent (except for a not good & exaggerated US accent, which was thankfully brief). I particularly enjoyed the contrast between the buttoned-up Norwegians and the Israelis and Palestinians. The impressions of the politicians done by the characters were also very good, although you would need to be at least my age to remember them (and, as you would expect from a matinee at the NT, pretty much everyone was). Not a perfect play, but very good. So pleased it beat A Doll's House Part 2 (which I thought was awful, apart from Laurie Metcalf) to the Tony.
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Post by eatbigsea on Aug 31, 2017 22:24:27 GMT
Disagree about Come From Away. It was a harder sell in New York, as many people said they wouldn't attend the show, because the emotion was too raw, subsequently this has become a monster hit with every show sold out, the show has heart and that is what the audience love, you could also make the same argument for Hairspray which I saw tonight, people were saying this would flop when it came over in 2010 as the story doesn't resonate over here. Also there is no starring role in the piece, it is purely an ensemble piece and the set is sparse so would be cheap to put on, so could slot into a small theatre. I think Come From Away could work very well over here, if it was marketed properly. The music would resonate, and the story really works (it's not like terrorism isn't relevant, and the immediacy of New Yorkers' feelings wouldn't be present over here). I don't think it would matter that theatre people haven't made much buzz about it, as once you got a few audiences of ordinary punters in front of it, anyone could see its potential. Perhaps in Dublin first? Is that ever done? I think they would like it.
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Post by eatbigsea on Aug 15, 2017 9:54:03 GMT
Awful. Left at the interval. Utter crap. No Dean in the history of universities would behave that way. Whishaw was good, but everyone else had ropey accents (Americans do not enunciate like British people do - you can get the vowels right all day and it still won't sound a thing like working class Americans). And the play was just painfully stupid.
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Post by eatbigsea on Aug 5, 2017 20:52:20 GMT
I remember quite a lot of unsure laughter at King Charles III, where I (and, it seemed, many others) weren't sure if laughter was appropriate. I saw it fairly early in the run at the Almeida, so maybe they sorted that out later on.
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Post by eatbigsea on Jun 12, 2017 12:38:53 GMT
Well, I'm pleased CFA didn't get completely shut out. But I would very much have preferred that it win Best Book as opposed to Best Direction. Rachel Chavkin did some really groundbreaking work with Great Comet, and I really hated DEH's book.
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Post by eatbigsea on Jun 12, 2017 2:35:20 GMT
This tells you where my America is when Jill Biden gets a standing ovation. And I love it I would like to live in/visit your America.
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Post by eatbigsea on Jun 11, 2017 23:39:44 GMT
Best Musical - Come From Away (DEH might win) Best Musical Revival - Hello Dolly Best Actor in a Musical - Ben Platt, Dear Evan Hansen Best Actress in a Musical - Bette Midler, Hello Dolly Best Featured Actor in a Musical - Lucas Steele, Great Comet (Gavin Creel should win) Best Featured Actress in a Musical - Jenn Colella, Come From Away (Rachel Bay Jones might win) Best Book of a Musical - Sankoff & Hein, Come From Away Best Original Score (Music and/or Lyrics) - Benj Pasek and Justin Paul, Dear Evan Hansen Best Director of a Musical - Rachel Chavkin, Natasha, Pierre & The Great Comet of 1812 Best Choreography - Sam Pinkleton, Great Comet Best Costume Design of a Musical - Santo Loquasto, Hello Dolly Best Lighting Design of a Musical - Bradley King, Great Comet Best Scenic Design of a Musical - Mimi Lien, Great Comet Best Orchestrations - Dave Malloy, Great Comet
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Post by eatbigsea on Jun 4, 2017 22:07:49 GMT
Are we talking about the skinny young thing who seems barely dressed in every photograph I've seen, is almost collapsing under the weight of her fake eyelashes and pulls a pout more often than a smile? If so, we're going to have to agree to disagree on the 'role model' thing, I'm afraid, guys. I am far too old to be a fan of Ariana Grande and what I had heard of her (doughnut licking incident) I did not like. But she has behaved extraordinarily well and with incredible poise and maturity for a 23 year old. From her visit to the children in hospital to tonight's absolutely incredible concert, she has been an outstanding role model. And she has represented her country far better than its president.
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Post by eatbigsea on May 29, 2017 10:01:26 GMT
It has a lot of repeat visitors from Seattle, DC and Toronto. It's not likely to have the demographics of the typical devoted fan base of many musicals, but it will tour well and I suspect will have a good long run on Broadway (I suspect Comet will struggle when Groban leaves and DEH will struggle when Platt leaves).
I say this without any condescension whatsoever, but it is the kind of musical that appeals to ordinary people from all across North America. I will be very interested to see if it comes to London and if so, how it will do.
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Post by eatbigsea on May 3, 2017 11:33:44 GMT
I realize I'm in the minority, but I don't get all the love shown for The Great Comet. You're not alone there. I am running hot and cold with this show. Part of me thinks it's crazy innovative, fun, entertainment and a very daring approach to one of the greatest literary classics in the world. I'm sure that being part of it all in the theatre must be an amazing night to remember. But in the broad cold daylight I find the music nearly impossible to listen to and it angers me that they picked one of the most banal and daftest parts of War & Peace for something that's more or less a teenage soap opera that doesn't do Pierre (the leading man of the book) any justice while Prince Andrej barely gets a look in. So I dunno. Since I haven't seen it live, I feel it's unfair to judge the show as it seems to be one of those "you have to be there" things. I'd be fine with it winning stuff like stage, lighting, costumes, etc. but I really don't see it winning serious stuff like book or music, let alone best musical. I couldn't agree with you more, and I've seen it live. It's truly an amazing spectacle, and it deserves all the technical awards it is (probably) going to win, but not the big guns. Josh Groban does a great job playing Pierre, but the character seems like someone out of a completely different story (which he doesn't, obviously, in the entire book). The leading man of the story in Great Comet is essentially Anatole, which is bonkers to me. That bit of War and Peace works in the context of the entire story, but taken out of that you're absolutely right that it's a teenage soap opera.
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Post by eatbigsea on May 2, 2017 18:40:58 GMT
I'm so pleased for Come From Away. I think it has a real shot to take musical, although DEH is of course the front-runner. I have real hopes for CFA to take book as well. Similarly, Rachel Bay Jones is the front-runner for featured actress in a musical, but I would be delighted if Jenn Colella took it.
As for the men, I would be really sad to see Ben Platt lose (I don't think he's going to). As much as I have some issues with DEH, Platt's performance was astonishingly good. For featured actor, I really wasn't all that impressed with Lucas Steele but haven't seen Dolly yet (I'm going this weekend) so will have to reserve judgment.
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Post by eatbigsea on Apr 24, 2017 21:39:13 GMT
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